There's not much room for deviation, yet if you manage to crack it, there then you can express things that actually do sound unique and genuinely original.

The biggest revolutions are the ones that happen in-between our ears.

When you're in the studio, you've got a narrative for what goes on, you might switch on a bit of gear and it might not work as you intended or come out a bit wrong, and you try and exploit it.

When you work on a computer in the studio, it's almost like fossilizing on the spot, you know, the idea of getting solidified on the spot, like a snowflake might create branches by accumulation.

I get nostalgic for things that didn't really exist. I might have a cassette from the first time a Melle Mel track, say, got played on radio in Manchester. And it might be a copy of a copy of a copy of a tape and there's all these weird nuances and distortions that have affected what I know as the truth, if you like, of that track.

You can't go back and edit during the live set in the club. In the studio it's different.

To me, an untrained ear, a young person at the time, I would hear off the different feels, all these different sounds, and then years later realize that everyone had used the same equipment, just to their own ends.